Barbara de Fina Movies

Martin Scorsese's adaptation of Brian Selznick's award-winning novel The Invention of Hugo Cabret stars Asa Butterfield, as an orphan boy who lives in a Parisian train station. Sent to live with his drunken uncle after his father's death in a fire, Hugo learned how to wind the massive clocks that run throughout the station. When the uncle disappears one day, Hugo decides to maintain the clocks on his own, hoping nobody will catch on to him squatting in the station.

His natural aptitude for engineering leads him to steal gears, tools, and other items from a toy-shop owner who maintains a storefront in the station. Hugo needs these purloined pieces in order to rebuild a mechanical man that was left in the father's care at the museum -- the restoration was a project father and son did together.

When Georges (Ben Kingsley), the old man who runs the toy stand, catches on to the thievery, he threatens to turn Hugo over to the station's lone police officer (Sacha Baron Cohen, who makes every effort to send any parentless child in the station to the orphanage. But Hugo's run-in with Georges leads to a friendship with the elderly gentleman's goddaughter, Isabelle (Chloe Grace Moretz), who unknowingly possesses the last item Hugo needs to make the mechanical man work again.
~ Perry Seibert, Rovi

Kenneth Lonergan, the co-screenwriter for Analyze This (1999), makes his directorial debut with this sensitive portrait of a pair of grown siblings. Sammy and Terry Prescott (Laura Linney and Mark Ruffalo) were orphaned as children after their parents were killed in a car accident. Since then, the two have taken drastically divergent paths. Sammy is a single mother who leads a quiet, stable life in a small town in upstate New York. A fiercely protective mother, she shields her young son Rudy (Rory Culkin) from all information about his absentee father. She is also involved with Bob (Jon Tenney), a well-meaning but less-than-exciting mate, both in and out of bed. Terry, by contrast, is a troubled, self-destructive soul eking out a nomadic existence. When he abandons his pregnant girlfriend to borrow money from his sister, Sammy finds her stable world disrupted. A bond soon develops between Terry and Rudy; over the objections of his mother, Terry takes the tyke fishing and shares old family secrets. Meanwhile, Terry's presence inspires Sammy to break out of her quiet life. This film won the Grand Jury Prize at the 2000 Sundance Film Festival. ~ Jonathan Crow, Rovi

Cowboys live again in this 20th century Western about two World War II veterans living on the lush, open New Mexico countryside. Based on the classic American novel by Max Evans about those struggling to continue living the Old West lifestyle in the early Cold War days, the film stars Woody Harrelson and Billy Crudup as two lifelong friends who fall for the same woman. Returning from war is Peter (Crudup), a cattleman who just wants a simple life on the farm, and Big Boy Matson (Harrelson), a big-drinking hellraiser always looking for a fight. Enter married Mona (Patricia Arquette), who turns both their heads and forces these two cowboys to put their friendship to the ultimate test. The film, like Sam Peckinpah's The Wild Bunch, is about freedom in wide-open spaces, so British director Stephen Frears is really out of his element in tackling this type of material. But he focuses the film on the relationships rather than the action, asking questions like "Is the girl more important than their friendship?" In the end, this film is more love story than Western. ~ Arthur Borman, Rovi

This Martin Scorsese film drama detailing the Dalai Lama's life story was in development for seven years, with the Dalai Lama having input into the 14 screenplay drafts by Melissa Mathison (The Black Stallion, E.T.). With four actors portraying the Dalai Lama at different ages, Scorsese's chronicle begins in 1933 with the death of the 13th Dalai Lama. Born in a remote area, the new Dalai Lama (seen at ages two and five in early sequences) is observed by monks who determine that he is the 14th reincarnation of the Buddha of Compassion. In 1944 the Dalai Lama uses newsreels and Western magazines to study WWII events, and as the war ends, he is forced to deal with Chinese Communist aggression. Protests from the Dalai Lama in 1949 are ignored as Mao (Robert Lin) maintains a military stranglehold on Tibet, eventually forcing the Dalai Lama to flee to Dharmsala, India. With a $28 million budget, Scorsese re-created Tibet's tragedy by filming in south-central Morocco with a cast of nonprofessional Tibetan actors. Second unit work took place at locations in Idaho and British Columbia. Avant-garde composer Philip Glass contributed a score with hypnotic, ritualistic overtones. ~ Bhob Stewart, Rovi

In Martin Scorsese's adaptation of Edith Wharton's 1920 novel, romance between an upper-class gentleman and an ostracized lady is doomed by 19th century New York society. Shortly after his engagement to blandly genteel May Welland (Winona Ryder), Newland Archer (Daniel Day-Lewis) is reacquainted with May's scandalous cousin Ellen Olenska (Michelle Pfeiffer). As the head of an esteemed family, Archer initially uses his standing to try to rehabilitate Ellen's reputation, but he finds himself increasingly drawn to her disregard for the codes of New York manners. Bound by ingrained society mores and his peers' insinuations, Newland tries to dodge his growing passion by rushing his marriage to May, but he cannot keep himself from confessing his love to Ellen. Recognizing that Newland could never abandon his sense of honor and be happy, Ellen pushes Newland to May and leaves town. The marriage proceeds as dictated, but when Newland unexpectedly sees Ellen again, he yearns for the affair to come to fruition. However, he underestimates not only what May knows but also her ability to uphold the rules of propriety. Sumptuously shot by Michael Ballhaus, the film offers meticulously designed costumes and settings that evoke a culture as seductively beautiful in its surfaces as it is stifling in its rituals. Unspoken emotions are expressed through such details as yellow roses or a clipped cigar, a fade to red or a single camera move. Using Wharton's original prose to comment on the setting's hypocrisies, Joanne Woodward's voiceover narration suggests how much decisive power is buried beneath dainty femininity. The Age of Innocence received five Oscar nominations, including Best Supporting Actress for Ryder and Best Screenplay for Scorsese and Jay Cocks, and a win for Best Costumes. Although The Age of Innocence seemed like a departure from Scorsese's prior work, Newland is as much at the mercy of his circle's Byzantine structure (and his own conscience) as are Scorsese's more familiar mobsters; Newland's persecutors just wear white tie and tails. ~ Lucia Bozzola, Rovi

Martin Scorsese's remake of Cape Fear provided the director with a box-office success to follow up the critical success of the previous year's Goodfellas. After serving a lengthy prison sentence for a sexual assault, Max Cady (Robert De Niro) comes calling on the man who served as his public defender, Sam Bowden (Nick Nolte). Max begins a campaign of harassment against the man and his family because Bowden buried a report that would have in all likelihood acquitted Cady of the charges against him. Bowden's shaky ethics continue in his personal life as he is considering beginning an extramarital affair with colleague Lori Davis (Illeana Douglas), since he and his wife, Leigh (Jessica Lange) have had a difficult time coming back together since he has admitted to previous indiscretions. Cady infiltrates the family most insidiously by cultivating a relationship with the Bowden's troubled teenage daughte, Danielle (Juliette Lewis), who is all the more susceptible to Cady's advances because of her parents' problems. Robert Mitchum and Gregory Peck, the stars of the original film, have cameo appearances in this version of Cape Fear. De Niro and Lewis were both nominated for Academy Awards for their work in the film. ~ Perry Seibert, Rovi

Director Stephen Frears' tense adaptation of Jim Thompson's novel The Grifters was one of a number of revival film noirs in the first half of the '90s. Updating the setting to contemporary Los Angeles, the film follows a trio of con artists who are intent on out-foxing each other. Roy Dillon (John Cusack) is a simple, two-bit con, whose life is thrown into turmoil when his estranged mother Lilly (Anjelica Huston) returns home in an attempt to evade the law. Lilly doesn't warm to Roy's girlfriend Myra Langtry (Annette Bening), who is too similar to herself. Soon, the two women are competing for Roy in a battle that is more of a power struggle than a pursuit of affection, and the battle quickly turns dangerous. Huston was nominated for an Academy Award for her work. ~ Stephen Thomas Erlewine, Rovi

Willem Dafoe plays Jesus Christ in this extraordinarily controversial adaptation of Nikos Kazantzakis's novel. The film depicts a sometimes reluctant, self-doubting Jesus, gradually coming to accept His divinity and the inexorability of His ultimate fate. The much-maligned sex scene with Mary Magdalene (Barbara Hershey) occurs as an hallucination experienced by Jesus as he suffers on the cross. This particular sequence was what infuriated the film's most rabid critics, but in fact it is just one of many iconoclastic musings to be found in the film and its source novel. Equally volatile are the intimations that, as a carpenter, Jesus indifferently shaped the crucifixes for other condemned prisoners long before his own fate was sealed, and that Judas (Harvey Keitel) was literally manipulated into betrayal by a Christ whose preoccuption with his own destiny compelled him to "use" others. None of these departures from the normal interpretation of the scriptures are offered as any more than theory; as such, it was accepted as food for thought by the more open-minded clerics and Biblical scholars who recommended the film. ~ Hal Erickson, Rovi

Abby (Lori Loughlin) and her brother, Loren (Shannon Presby), seem to have it all: good looks, lots of friends, and a great relationship with their loving mom and their heroic, discipline-minded military dad. When their folks are killed in a car crash, however, the siblings must move to small-town Florida to live with their sweet but cash-impaired Uncle Charlie (Ed Jones) and Aunt Fay (Lucy Martin), who own a gas station and a struggling, bargain-bin amusement park. For Abby and Loren, life in the Sunshine State proves to be a mixture of hard work, new faces, and harassment at the hands of drug-dealing, skirt-chasing local scion Dutra (James Spader) and his gang of trailer-park psychopaths. Dutra places a bet with the wiry, reptilian Gideon (John Philbin) about which of the young villains will be able to bed Abby first, leading to a series of increasingly vile sexual come-ons. Abby, however, has other romantic ideas involving a kindly boy named Mark (Eric Stoltz). Between bouts of defending his sister's honor, Loren finds a similarly wholesome romance with pretty, blond Karen (Paige Lyn Price). With the help of these new friends, Loren and Abby make some headway in the local social hierarchy, but their skirmishes with Dutra and his minions escalate, climaxing with attempted rape, kidnapping, and bumper-car violence on the night of a high-school dance. Director Sean S. Cunningham also directed the original Friday the 13th. ~ Brian J. Dillard, Rovi